I chose to attend the Maude Kerns Art Center’s spring exhibit Object/Form. It features still lifes and figurative works from three local artists: Farley Craig, Sarah Sedwick, and Gabriella Soraci. I hadn’t heard the best things about the Maude Kerns from my coworkers at the museum, or from other students. It seems to maintain a low profile, as it’s not as easy to know what exhibits are going on, compared to art exhibits like at the JSMA which has signs outside of its building, posters around campus, and a newsletter. However, I was excited for this exhibit since I have a vested interest in painting and the community, even if I didn’t recognize the artists’ names. It was also an event I could go to alone. There is a jazz performance series at …show more content…
The space was bright, open, and cool, but at the same time intimate. Aside from the sanctuary, there was the alter space, a side room, an alcove, and part of a hallway with art. It was the perfect space for a single exhibition with a modest purpose. There was also classical music playing in the gallery which made the space more friendly, as there was only a couple other people in attendance. Getting more familiar with the space, it became obvious that it was a low-budget operation; not in a pitiful way, but in a characteristically Eugenian way. However, one uncomfortable aspect was that there wasn’t a clear path to follow through the space, but it was small enough so that backtracking was not inconvenient or confusing to the narrative of the show. One of the other stranger aspects was that there is an entrance at either side of the building, so while one has the impressive sanctuary perspective, the other has the service desk. No one greeted me as I came in, nor when I was looking at the art in the area near the desk. It was nice not to be disturbed or shadowed like in other gallery spaces, but still it seemed
Means of egress from this part of the structure were by means of the main foyer at one end, and on the main dining room side, and at the other end of the bar through the passageway leading to the Broadway Lounge. A closed balustrade about 40” high, separated the Caricature Bar area from the main dining room.
The white walls of the museum came to life by the art works on and surrounding them. As soon as I walked in, I was facing Sheila Hicks, Vivace, Vivace, (2014) which lit up the room with its vibrant colors, serving as the
I never go anywhere alone. After a depressive Saturday morning I finally crawled out of bed and went to the Cummer Museum. Art is one thing that I don’t understand. How people can find deeper meanings from paint on a canvas is Japanese to me. When I look at a painting I see exactly what is being shown and nothing more. There is no deeper meaning evident. Being at this museum cranky and solo trying to find a picture I felt connected to was almost impossible. It took me about ten minutes to go through the whole museum. But in one of the last sections I went in there was finally something that my eyes were drawn to. An image that made me want to find the deeper meaning. Thomas Hart Benton’s June Morning.
The show’s organizers, Teresa A. Carbone (the museum’s curator of American art) and Kellie Jones, did an exceptional job of strategically placing the artwork in relevance and relating topics to one another. When I arrived, the exhibit was empty and I actually had the opportunity to meet Ms. Carbone, who was on hand at the museum’s entrance.
When I entered through the main gallery entrance, the first thing that I noticed was this colorful glass sculpture in the middle of the room. I was in awe at how beautiful the sculpture was and the way how the light was reflected on the sculpture really emphasized the
Many might have been working on Good Friday, but many others were enjoying The Frist Museum of Visual Arts. A museum visitor visited this exhibit on April 14, 2017 early in the morning. The time that was spent at the art museum was approximately two hours and a half. The first impression that one received was that this place was a place of peace and also a place to expand the viewer’s imagination to understand what artists were expressing to the viewers. The viewer was very interested in all the art that was seen ,but there is so much one can absorb. The lighting in the museum was very low and some of the lighting was by direction LED lights. The artwork was spaciously
Using the quote by Habermas as a starting point, select up to two buildings designed in the twentieth century and examine what ‘sudden, shocking encounters’ they have encountered, or created. Analyse the building’s meanings as a demonstration of an avant-garde, or potentially arriere-garde, position.
One of the most memorable experiences I had last summer was visiting the American Visionary Art Museum in Baltimore, Maryland. (3)At this museum, professional artists had created none of the works hanging on the walls. Visionary art is an individualized expression by people with little or no formal training; the rules of art as a school did not apply here. While I was there, I learned that for many years, the artwork created by patients of mental institutions, hospitals, and nursing homes were disregarded and destroyed by their caretakers. After seeing what powerful and telling work came from many people in these situations, I found this information to be very distressing. Fortunately, the development of art as a form of therapy has changed the medical attitude toward art created by the healing in the past fifty years. While the work created through this therapy is rarely showcased as at the American Visionary, it is aiding therapists and their clients in reaching a new awareness.
All the shiny items to the back of the room caught my eye instantly because they appeared to look rich and prestigious. On the right of the big main entrance door in front, there was a silver tree, and on the opposite side of the room on the left side of the door, there was a gold tree. Money hangs on the tree, and I thought that was an interesting feature to have. As I looked around the room, I noticed the red carpet below me, and everyone was sitting on small rectangular pillows. The main speaker told me that pillows were located in the big container next to me, so I grabbed one and sat down. The...
I joined the class for the trip to the "Big Apple" on the eve of Halloween. We departed from a campus parking lot early Saturday morning. Our destination was the Metropolitan Museum of Art, which is located at 82nd Street and Fifth Avenue. I had never been to "the Met" before and I was very impressed. I wandered throughout the museum going from gallery to gallery until I was able to find the two paintings that interested me the most.
As we reach the museum, the exterior was very beautiful. The first things I saw were the bronze statues in the front. We took a couple of pictures in front of them and in front of the Norton Simon. The entrance where the glass doors had sat was very unique and elegant. The glass walls that the glass doors were attached to, added to the elegance and beauty. When I had first walked in, I was very shy, timid, and unwilling to go on, this was due to the more mature audience that I had seen when I had first entered the museum. I was still unsure on how to act in a museum, being this my first time, so I was very calm, cool and reserved, but as time went on I saw college students my age probably doing the same thing I was doing. So I then I felt more at ease. Plus my girlfriend was with me so I was not alone.
Ms. Phillips met us in the waiting area and walked us through the very spacious building to the elevator, taking us to her office on the third floor. She explained to us that the building was once a hospital (W. Phillips, personal communication, October 4th, 2013). This explained the wide doorways, spacious halls, drab atmosphere, and considerable amount of walking it takes to get from one place to the next. Ms. Phillips’ office had very welcoming in décor. Pictures of her child and what seemed to be his artwork, and the work of other children, decorated almost every available wall space. Because the room was once a hospital room, the layout was very strange for an office. Visitors have to sit perpendicular to Ms. Phillips’ desk. Because Ms. Phillips provides in home services, I do not believe this would aff...
Personal space, regardless of the settings (clinical/private, etc), and how it is maintained can be one form of boundaries, and may play a very significant part in the development of the therapeutic relationship. P. D’Ardenne and A. Mahtani noted that “the choice of room, the furniture and décor, the location and distancing of seats”, etc will have an influence on the therapeutic relationship and process (1992:53). Every object in the room has imperative significances and requires careful and thoughtful attention on the therapist’s part. Pictures illustrating different scenes or people from aroun...
Meijenfeldt, E. V., and Geluk, M. 2003. Below ground level: creating new spaces for contemporary architecture. Birkhauser
Although The Institute of Contemporary Arts (ICA) of Boston was the only place dedicated to contemporary art for more than 50 year, it is having trouble growing into a pillar of the art industry (Reavis, 2010, pg.1). The main problem is the organization’s powerless leadership. According to Peter Northouse (2015), leaders must possess an effective influencing power in order to motivate followers (pg.47). The leaders prior to Jill Medvedow failed to get the local community fondly interested in contemporary art or an environment that showcases it. Therefore, there are no investors, donors, or patrons breaking down the door to fund or see the exhibits presented in the old